Slow pan through a comfortable, middle class house. It is set atop a large hill in the country close to the small town of Cedar Corners, a nice little town with about 8 thousand inhabitants.We hear voices in the distance, just down the corridors, we can't make them out just yet.The sound of slight rain pitter-patters across windows and the roof. A thick fog hangs outside the windows.

2. INT LIVING ROOM NIGHT

Four girls are sat around a roaring fire in the living room. It is the only light. The girls are all typical, 16 to 18, attractive, brimming with vitality. They wear night-clothes like it's a slumber party. One of them, BETH is finishing a point. The other girls giggle and make scary sounds. Then another JILL TYLER, starts up. This is her parent's house but they are away someplace.

JILL: You ever heard of something called "The Real Myth Theory"?

The others look at each other.

Another, SASS, speaks.

SASS: The real myth theory? What the hell is that?

BETH: Sounds like something you just made up.

JILL: No, it's totally true. This is how it goes, you hear a rumour in the hall at school or the K-Mart. A rumour say.......about a mysterious killer that nobody believes is real........sort of like the boggy-man.

The last girl, RACH speaks.

RACH: Go on.

JILL: OK, now, we all know the boogy-man doesn't exist, but the theory states that if you believe in him, I mean complete and utter faith without question, he'll appear, as real as you or I.

There is a pause. The others all groan.

BETH: I told you she made it up.....

RACH: Sounds like you're the only one who believes in that.

JILL: OK, not convinced? I got an example. About a year ago in Bridgemont High School in Seattle, these business cards started floating around the place. The only thing written on them, was a single number. A telephone number.

RACH: Do you remember the number?

JILL: I don't know. Anyway, it was understood that if you dialed the number, somebody on the other end would tell you the exact time that you would die. To the day, hour, minute, second.

RACH: Did anyone dial it?

JILL: Sure, everyone in the place dialed that number, but only one got through. Her name was Gerta something, a real loner of a gal. She hung around by herself and was like this manic depressive who tried to kill herself loads of times. Anyway, nobody knows for sure that she dialed the number, and about seven months later, she was killed by a serial killer who escaped from some hospital. She was lying on her bedroom floor, her throat slit. When they cleaned out her room, they found the business card in her diary. It had a single date written on the back in ink, the exact time she died that day. They figured she wrote it down after she called the number, put it away in her diary and never thought of it again.

Another pause.

SASS: That's pretty creepy.

BETH: So it worked for her because she believed it would?

JILL: Uh-huh.

RACH: It's a pretty big coincidence that she died just seven months later?

BETH: Is there a point to all this?

JILL: Of course.

SASS: You wanna try it with something?

JILL: Yeah, I've got the perfect case study.

CUT TO:
3. INT LIVING ROOM LATER

Jill enters the room carrying a cardboard box. She sits back down and opens it.

JILL: Ever hear of Casey Becker?

Nobody says anything.

JILL: About eight or nine years ago, she received a phone call from this maniac guy who went on to kill her. He also killed about six or seven others in the space of a few days in a town called Woodsboro.

BETH: Woodsboro, it rings a bell but.....

JILL: It turned out the killer was actually two killers. Two kids who were out of their fucking minds. They stalked a girl called Sidney Prescott. They killed her mother Maureen a year earlier. Anyway, they were killed and things went quiet.

Jill is passing out photos of the people and magazine covers.

JILL: Sidney went on to college but it all started again. One of the killer's mom came back and got this kid Mickey to help her.

SASS: This is confusing.

JILL: Anyway, they were killed and Sidney survived. I think she's out west now trying to break into acting or something. So many people died over thespace of a few years but then everything went quiet. I can tell since none of you seem to remember it all.

SASS: Where did you get all this stuff?

JILL: My Dad collects it from the newspaper office.

RACH: Enough talk, what is it you want to do.

JILL: Well, do you suppose it's possible that if we all believed in this killer, he'd be real?

SASS: I thought you said killers?

JILL: No, I'm not talking about the guys behind the masks. I don't mean a guy with a motive. I mean, a pure killer. A mass of evil that can be brought about by people's sole belief in it.

BETH: You're starting to scare me.

SASS: I understand what you mean, I'm just pretty sceptical about the whole idea.

RACH: It sounds like that Candyman film. They all blamed their problems on him and he came real.

JILL: That's right.

BETH: And how would you want to go about your project?

Something BANGS up against the window. They all SHRIEK. Jill gets up and goes to the window.

JILL: I think it was a pine cone, they're falling off the-

SASS: -What is this?

Sass lifts up a Halloween mask. It isn't the father death one but a copy of "The Scream", that painting.

JILL: Oh, that's the mask like the killer was supposed to have worn. The real one was a bit different. They sold them for a while after the murders but the families had them withdrawn like out of respect or something. I bought that at toy store in town.

RACH: OK, I believe in this killer. (pause) So where is he?

ECU JILL'S EYES

There is a flash of lighting. We see Jill's POV of the opposite window. As the lightning flashes again, we see a glimpse of a figure wearing black, and the mask walk past the window.

RACH: Jill? Where is he? Or it?

JILL: Huh?

RACH: Are you doped up or something?

JILL: No, I just thought.......I'm just getting spooked.

BETH: Even though I thought your story was shit, I'm not gonna sleep easy tonight.

Outside, a floodlight flashes on.

They all look outside.

SASS: That your floodlight?

JILL: Yeah, it's a motion sensor. It's pretty windy.

CU BETH'S EYES

Beth looks out of the door and down the hall. A glimpse of the killer walks towards her in the corridor and then fades out. Just a day dream.

JILL: Look, you guys, it doesn't matter. Let's just watch a video.

RACH: Nothing scary though.

JILL: How about Bambi?

RACH: Is that the one where the mom dies?

JILL: Uh-huh.

RACH: No thanks.

SASS: I'm getting a drink. Anybody want one?

They all say "sure"

Sass gets up and goes to the door.

SASS: I'll be right back.

Sass goes to the kitchen. Jill is bent down at the VCR and TV. She pats the top.

JILL: This thing is blinking out on me.

BETH: Give it a kick, works at our house.

4. INT KITCHEN SAME TIME

Sass enters the kitchen and flicks on the lights. She goes to the fridge and opens it, removing four bottles of beer. She sets them down on the counter and starts to open them with a bottle opener. She flicks the last one off, it tumbles across the table and comes to rest by the side of a very large kitchen knife.

Sass looks at it silently for a few seconds. Then she takes the bottles and leaves the kitchen, turning off the light. She goes back to the living room.

5. INT LIVING ROOM

The group are falling asleep, they watch a film in the darkness. Sass sits down and hands out beers.

SASS: Drink it while it's cold.

JILL: Oh, Sass, you left the light on.

Sass looks down the hall where the kitchen light is visible.

SASS: No, I- (sees it) Oh. I'll go-

JILL: Just leave it, it's OK.

SASS: What are we watching?

BETH: Just some scary movie.

Sass looks at Beth and then goes silent.

The phone rings. Jill reaches over and picks it up.

JILL: Hello?

The voice comes slow and deep, like a record slowed down.

VOICE: Hello. How are you this evening?

JILL: Fine. Can I help you?

VOICE: No, but you're gonna need help.

JILL: Excuse me?

RACHEL: Who is it?

JILL: Some asshole.

RACHEL: Give it here.

Jill hands her the phone.

RACHEL: Hello, this is sex chat, my name's Tina, how can I help you?

VOICE: That's funny.....do you know any scary stories?

RACHEL: Yeah you.

Rachel puts the phone down.

JILL: OH, wait.

Jill takes the phone off the hook.

6. INT LIVING ROOM EARLYMORNING ABOUT 3AM

The TV is off, the remnants of the fire are glowing. The girls are fast asleep. Sass stirs slightly and opens her eyes. She rubs them and glances down the hall. The kitchen light is off. She is now wide awake, who turned it off? Her mind is going a mile a minute as she tries to beat her grogginess.

She stands and looks at the others. They all sleep silently. Beth is lying close to the TV, Jill lies on a rug near the fireplace, Rach is sat in an armchair. Sass heads down towards the hall, as she does so, she hears a noise.......tap, tap, tap, tap, tap, tap....they come very close together.

Sass looks at the window where the twig of a small tree is blowing in the wind, the end hits the window over and over. Sass heads to the kitchen.

7. INT KITCHEN

Sass goes in but doesn't turn on the light. She goes to the fridge, opens it and looks inside. A light is cast across the kitchen. She fishes around inside, finds a beer, opens it and turns to face the kitchen. She sees on the kitchen table, the butcher knife is missing.

Sass stops dead. She thinks for a few seconds and then leaves, going back to the living room. As she re-enters she scans the room. The tap, tap, tap, tap, CONTINUES. She looks at the three girls sleeping and then lifts the beer bottle, taking a long swig. Suddenly, the tap tap tap stops abruptly. Sass swings to the window, the twig dangles, snapped at the end. Sass swallows air. She tries to ignore it and takes another swig of beer.

SASS: (whisper) If you're so real, where the hell are you?

A figure slips into the frame behind her. The mask they were looking at before is visible. The butcherknife slips around her throat and with a quick slash, blood explodes everywhere. It happens in a few seconds. Sass tries to scream but can't.

A hand slips around her waist. Then the knife slams into her spine. Sass chokes on her own blood as she stumbles forward.

SASS: (blood-choked whisper) Beth......ji-ll......

Sass falls to her knees. She kneels there, choking as the killer moves slowly towards where Jill is lying. He bends down, raises the knife while placing his hand on the back of her neck. The figure breathes slightly as the bloody knife is raised high. Jill wakes up. She is groggy but realises something is wrong, she goes to scream but is cut off as the knife slams into her back.

Sass drops her bottle as she falls forward. It hits the edge of a metal table. It smashes. Beth and Rachel wake up as the killer drops Jill's head. She doesn't even have time to scream. Blood explodes from her back and seeps over the floor.

Beth sees this and screams as loud as she can.

The killer reaches down, grabs the knife and in one swipe, slashes it up and across her throat. She tumbles backwards.

Rachel jumps up screaming and runs out of the room. The killer wastes no time gets up and chases in full sprint after her. Rachel closes the door on her way out, the killer runs into it and falls over. Rachel whimpers as she picks up the phone in the hall and dials 911.

VOICE: 911 emergency.

RACHEL: Police. Send the police right now to 12 Ridge Road.

The door swings open. The killer stands watching her on the phone. The mask stares into her terrified eyes as they stand looking at each other.

VOICE: 12 Ridge Road?

Rachel says nothing.

VOICE: Hello? Are you there?

RACHEL: (to killer, quietly) Please.....don't kill me.....we don't believe in you.....I don't believe in you......

The killer takes step towards her.

Rachel gasps and steps back.

VOICE: If you're not there I'm-

RACHEL: (screams into phone) Send the police!!

The killer advances on her. Rachel lifts the whole phone set and throws it. It hits the killer who flinches back a little.

Rachel backs down the hall throwing things but the killer makes even ground. She comes to the end and reaches down to a small stand containing umbrellas and walking sticks. She fishes out a fire poker and lifts it just as the killer reaches her.

She stands with the poker tip, sharp and pointy, about a foot from the killer's chest.

RACHEL: (crying, hysterical) Ah.....see how the tables turn so easy motherfucker. Put the fucking knife down.

The killer looks at her. Then down to the knife.

RACHEL: (crying, hysterical) Put it down or I'll ram this through your fucking chest and out through your back, I swear to God.

The killer regards her for a few more seconds before raising the knife. Rachel moves the poker closer to his chest.

RACHEL: Don't even-

In a flash of movement, the killer slams the knife up, into and through Rachel's left shoulder. It embeds in the wooden panel behind her. She screams for her life. The poker now points down at the floor, pretty useless.

The killer reaches down and takes the poker. Rachel whimpers, begging for her life.

The killer lifts the poker, turns it around and points it at Rachel. She screams as a second later it enters her skull at high speed.

8. EXT ROADWAY MORNING 5 OR 6 AM

A small banged up old red Volkswagen Beetle car is parked on the grass verge at the side of a thin road. On either side, fields stretch away into the distance. The only problem is, a dense fog has reduced visibility to about twenty feet. A slight drizzle falls from the sky.

A thirty year old woman is stood at the car, the hood up. She leans inside, cursing and banging things with tools from a rusty box propped on the battery.

Her name is ELLEN BAKER. She has her hair tied back in a messy and confused pony tail. Splats of oil and grease cover her blue shirt.

ELLEN: ......of all the times to fuck me around. I've been good to you, haven't I been good to you?

The car stares back.

ELLEN: I can't fix it if you won't tell me what's wrong?

Ellen picks up a screwdriver and THWACKS the engine. It groans slightly.

ELLEN: OK, that was weird.

She drops the screwdriver and looks around.

ELLEN: Not exactly Friendly-ville USA.

She removes a road map and spreads it across the engine.

She runs her fingers across some roads.

ELLEN: How far is it to town? Cedar Corners. Uhm......

She moves out onto the road to try and spot something visible like a landmark.

She stands wiping the rain from her eyes as the front end of a large van parts the fog and heads towards her.

The man inside sees Ellen in the middle of the road.

MAN: Holy Jesus Shit!!

He slams the brakes and turns the wheel. Ellen screams and dives as the van's bumper smashes out the rear left tail lights.

9. The man jumps out of the van. He is also about thirty years old. He is tall and good-looking. His name is CAMERON HARRIS. He runs to her and helps her up.

CAMERON: My God, are you all right?

ELLEN: I think, did you hit me?

Ellen stands up.

CAMERON: No, I think you're fine.....but your car's a little broke.

ELLEN: It's always broke.

CAMERON: What the hell are you doing out here at this time?

ELLEN: I'm heading to Cedar Corners when this pile of shit decides to brake down on me, I was looking around.

CAMERON: Yeah but it's just not safe, you should have stayed in the car.

ELLEN: Thanks for the advice, Dad. I take it you're talking about the murders than the crazy van drivers?

CAMERON:How did you know about them?

ELLEN: (shakes his hand) Hi, I'm Ellen Baker.

CAMERON: Cameron Harris.

ELLEN: I'm a freelance writer.

CAMERON: Really?

ELLEN: Yeah, I had some things published in Enigma magazine.

CAMERON: You work for Enigma? I love that magazine!

ELLEN: Thanks. I'm trying to get a scoop on what's going on with this teen slaughter thing.

CAMERON: You don't waste any time huh? Only happened two days ago.

ELLEN: Listen, can you give me a lift into town? I don't think this thing's going anywhere.

CAMERON: Sure.

Ellen closes the hood, gets a clothes bag from the car, closes the door and takes the tool box to the trunk. She opens it and puts it inside, closing the trunk.

CAMERON: Are you not going to lock your doors?

ELLEN: The best thing somebody could do for this car would be to steal it, strip it and turn it into knives and forks.

CAMERON: Yeah but I still feel bad about taking out your light.

Ellen looks at him, then lifts her foot and kicks the other one in with her boot.

ELLEN: There. Now they match. Shall we go?

9. INT VAN

Cameron starts the engine and pulls away. Ellen pulls out her hairband and rubs her hair through.

CAMERON: Are you sure you want to just leave it there?

ELLEN: Yes I'm sure. I'll get it later. Oh.....God....my hair feels like you could fry an egg on it.

Cameron smiles. Ellen looks over her shoulder into the back. One side is banked with electrical equipment.

ELLEN: What's with all the gizmos? You a spy?

CAMERON: No, I'm from the weather monitoring station in Wheaton. That's the town before this one.

ELLEN: Weather?

CAMERON: Yeah, this fog is just the beginning of this low pressure system we think's heading this way.

ELLEN: And what, you've gotta take a look?

CAMERON: They want me to spend the weekend in Cedar Corners. Take some readings, pressure humidity.

ELLEN: Interesting.

CAMERON: Uh-huh.

ELLEN: So what do you know about these murders?

CAMERON:Me? Not much. I only read about it in the papers.

ELLEN: But you've been here before?

CAMERON: Yeah. I lived here for a few years before I went to university.

ELLEN: So you know where the house is?

CAMERON: I dunno, I could probably find it.

ELLEN: Good. I may need to look at it later.

CAMERON: Where are you staying?

ELLEN: This guesthouse. You?

CAMERON: I'm crashing at a friend's place.

They sit for a few seconds.

CAMERON: So are you gonna write about me in your report?

ELLEN: Why are you an interesting person?

CAMERON: That's for you to find out.

Cameron sits for a few seconds and then says:

CAMERON: Look, you know they never found the bodies of the four girls?

ELLEN: Yeah, I heard one of the boyfriends came to pick one up, I think it was Elizabeth and he found the house covered in blood.

CAMERON: Yeah, that's right. The parents are pretty shook up. They said-

ELLEN: What are you getting at?

CAMERON: I'm just saying you might wanna be......tactful when you start asking questions. You know, this sort of thing isn't supposed to happen in a town like Cedar Corners.

ELLEN: I know how to be considerate. I'm really a nice person, not one of these bloodhounds that work for NewsWeek.

CAMERON: I guess you're right. I mean it's just a one-off right?

Ellen looks at him.

ELLEN: Are you serious?

CAMERON: What do you mean?

ELLEN: You never heard of the Woodsboro killings? Or the copycat killings at the Windsor College

CAMERON: No.

ELLEN: Oh My God you haven't. I can't believe it.

CAMERON: You mean this is another copycat? How do you know?

ELLEN: I heard on the radio that a witness saw a guy with a white mask, like a ghost face. Hanging around outside the house. The other "incidents" in Woodsboro were the same.

CAMERON: That really doesn't mean anything.

ELLEN: Yeah but it's possible, it's happened before.

CAMERON: Yeah but I'm sure that those guys had motives. This......there doesn't seem to be any connection. It's probably some nutcase.

ELLEN: I guess I'll find out.

10. INT CEDAR CORNERS POLICE STATION MORNING 8 AM

A fat old man with grey hair and moustache enters a small police office where two other cops are sat at desks. The fat man is CHIEF TOM RADMACHER, the other two are town cops, JAKE PLUMMER and MARTIN DARCY. Jake is about thirty nine years old. Martin is about forty.

TOM: Good morning. How is everybody?

JAKE: Tired.

MARTIN: Pissed off.

Tom chuckles as he gets himself a cup of coffee.

TOM: We got a big day today. For starters, we've got a forensics team coming in to search through the Tyler house and the grounds. Those bodies have gotta be someplace.

JAKE: Tom, I just ate.

TOM: Then we've gotta find our murder weapons.

MARTIN: Do we have any leads?

TOM: Not a one.

MARTIN: Do we even know that they're all dead?

JAKE: No, they just bled a lot, but I'm sure they're fine.

MARTIN: Shut up shit face. (throws a newspaper at him)

TOM: No, he's right, they may not be dead. But we've had a full search around the clock. Dead or alive, their bodies are out there somewhere.

JAKE: Ooo, that's poetry chief.

TOM: Do some work, Jake. Make a change in our lives.

MARTIN: You got a call from Mrs Winder. She wants you to do something about the quote "strange lights in the sky outside her house" unquote.

TOM: What strange lights?

JAKE: I told you, she does speed! She's seein' lights in the sky!

TOM: (ignoring him) Somebody go out there, I got more important things to do.

JAKE: I'm not going.

MARTIN: Well I can't go because I'm heading out to the school.

JAKE: What for?!

MARTIN: Well, you remember those murders we were just talking about?

JAKE: Yeah?

MARTIN: Well the Principal asked me to go down there and talk to the students.

TOM:Yeah, well, you just be careful about what you say. Kids are impressionable nowadays. You say there's some maniac out there, they'll eat you up like a goddamned slice of teenage pizza.

MARTIN:Well, I wasn't going to use the term 'maniac'. Relax, I'll be sensible. It's no problem.

TOM: I thought we had some guy coming down from Wheaton today as well?

MARTIN: We do. He should be here by now.

TOM: Yeah, well I hope he does a good job. People of this town aren't too pleased about havin to pay for some college geek to come tell us if it's gonna rain or not.

CAMERON: Don't worry, I'm sure the geek'll do his job.

They all turn to see Cameron stood in the doorway with Ellen.

TOM: Ah, you must be......

CAMERON: Cameron Harris. Pleased to meet you. This is Ellen Baker.

ELLEN: Hi.

TOM: Nice drive?

CAMERON: Yeah, not bad. I just came by to tell you that I'm gonna need the keys to the radio equipment here.

TOM: What do you need the radio equipment for?

CAMERON: Well, I don't have a satellite transmitter and I need to keep in touch with my contacts in Wheaton. If you want me to keep an eye on this storm, I'm gonna need to set an uplink from my computer

TOM: You've lost me already.

CAMERON: Can I please have the keys?

TOM: (throws him a set of spares from a rack)All right, but don't you touch or fool around with anything that ain't yours.

CAMERON: Don't worry.

TOM: And what are you doing in town? You're not from around here.

ELLEN: I'm from Enigma magazine. I'm doing a report on the murders.

TOM: Is that a fact. All the TV crews were here the other day.

ELLEN: Yeah.....

TOM: Well you stay away from that house, you got no business up there.

ELLEN: Where are the families?

TOM: Well, not that it's any of your business but they're trying to get over this mess out of town, in private. All the reporters have gone after them to Chicago.

ELLEN: Got any leads on the killer?

TOM: No. Why?

ELLEN: Well, don't you see that as a problem? You've had four brutal murders, there's still a killer out there someplace.

TOM: Look, we don't know anything for certain, and it won't do no good for you to swing around your wild accusations and theories.

ELLEN: I'm not saying that.

CAMERON: Come, on. I'll drop you off.

11. EXT POLICE STATION

Cameron and Ellen exit the station and come out onto a street. Immediately their hair and clothes are blown around by a strong gust of wind. Ellen shrieks slightly.

ELLEN: Woah!!

CAMERON: Wow, it's really coming on fast huh?

ELLEN: You didn't say it was going to be this strong!

CAMERON: It's likely to be stronger, we're expecting the full brunt tonight some time. Maybe even hundred mile an hour winds.

ELLEN: Holy shit.

They get into the van and comb their hair with their hands.

CAMERON: You picked the right day, huh?

ELLEN: Tell me about it.

12 INT CEDAR CORNERS HIGH SCHOOL MORNING ABOUT NINE AMThe halls are alive with activity as people exit rooms and all head towards the auditorium. They chat anxiously and quietly. They all know about the murders of four of the students that went there.

We close in on two girls. One is placing some books in her lockers. She is about seventeen years old, she has neck length brown hair with slight red high lights. Her name is KAREN GREEN. She has a quietness about her. The girl stood next to her has long black hair tied back. She chews some gum as she waits for Karen. Her name is JESSICA WILLIAMS but her friends call her Jess.

JESS: I don't know who did it, I mean they didn't even find the bodies, doesn't that like totally freak you out that you could be walking home and stumble over four dead people?

KAREN: Change the subject.

JESS: I don't see why you're so upset, you didn't even know them? Apparently they uhm.......got around.

KAREN: They've been dead two days and already people are saying they were sluts.

JESS: Yeah but we know that Jill and that other girl had a thing with Dylan, as did you.

KAREN: Well then it's Dylan's fault isn't it?

JESS: I'm just saying what I heard.

KAREN: Yeah and what you heard is a load of bullshit. When I worked at the video store, they used to come in. They'd rent movies for slumber parties and stuff. They seemed like nice people.

Karen closes the locker and they head down the halls.

JESS: That's what they were doing that night. The cops found videos covered in blood.

KAREN: Whatever.

JESS: Why are you acting like this?

KAREN: Why? Because there's a fucking maniac out there someplace. Don't you feel slightly scared?

JESS: Why would he want to kill me?

KAREN: I bet that's what those girls thought. He's a nutcase, he doesn't choose his victims, he just kills.

JESS: And you're an expert all of a sudden?

KAREN: No. But I know how I feel.

A guy runs up behind them. He is about seventeen, a friend of Karen and Jess'. His name is DYLAN SCOTT.

DYLAN: Hey, you guys hear the latest?

JESS: What?

DYLAN: The cops said they talked to someone who saw a guy in black with a white mask pulling a body across a field on the night.

KAREN: What? Dylan, you asshole, somebody made that up in the library.

DYLAN: No it's true, I read it in the paper.

KAREN: Oh.....well then it must be true.

DYLAN: Give me a break. I happen to have very reliable sources

JESS: White mask? Like Michael Myers white mask or Jason Vorhees white mask?

DYLAN: No, the witness said she thought it looked kinda like that guy's painting. I don't know his name but it was called "The Scream"

KAREN: Munch?

DYLAN: Huh?

KAREN: That's the name of the artist, Edvard Munch.

DYLAN: Yeah, he used to play with the Munch Bunch.

Karen groans.

They enter the auditorium. It is filling up with people.

Karen, Jess and Dylan sit in seats facing a small stage where we see teachers lined up in chairs. On the end is Martin the cop. As the crowd settle down, a woman, Principal Whitler approaches the Tom.

DYLAN: Heads up, it's Hitler.

Karen groans and rolls her eyes.

KAREN: Get some new material.

The principal begins speaking.

WHITLER: Good morning everybody. I'll make this brief, we've got a lot of things to organize. Since the tragic deaths two days ago, the local police have been working with the investigators from the FBI and state department. They'd like to interview anyone who saw or spoke to any of the girls on the night or the day before. It's very important that we get as much information as we can. It has also been decided that school will be suspended for the next few days.

The crowd murmurs.

WHITLER: Granted that the murders have issue here but we have two very important points to deal with. I'll let Officer Darcy explain them.

Whitler sits down as Martin gets up to the microphone.